In order to enhance music education courses, the study's primary goal is to evaluate students' academic performance in music at Visayas State University (VSU). It specifically sought to establish the respondents' age, gender, educational attainment, and demographic profile. It also aimed to determine the students’ academic success in music and provide suggestions to enhance the curriculum at the Visayas State University. In the demographic profile of the respondents in terms of age, the students dominate the younger generation wherein they belong (...) to the age bracket of 16-20 years old. 75% of the participants were females, which reflected the majority of the population. Most of the students only got average grades. The weak background and foundation are due to less time given to music in MAPEH as a subject. Thus, they just encountered proper music education upon reaching the tertiary level hence, lacking the basic skills necessary for them to learn and appreciate the course then and obtain higher grades. (shrink)

This article aims to explore and analytics about Ethiopian traditional music instrument through indigenous knowledge (kirar, masinko, Begena, kebero and washint/flute). The researcher would have observation and referring the difference documentations. Kirar, and masinko are mostly have purposeful for local music including washint, the others which is Kebero, Begena have use full in the majority time for church purpose. Ethiopia has extended culture, art and indigenous knowledge related to original own music. Their studies have qualitative research design that has descriptive (...) methodology to more exploring the traditional music’s free statement descriptions. Its researcher mainly has providing the descriptive information about the Ethiopian traditional music instrument as analytical finding out. (shrink)

Professor Rahn takes the approach to the analysis of Western art music developed recently by theorists such as Benjamin Boretz and extends it to address non-Western forms. In the process, he rejects recent ethnomusicological formulations based on mentalism, cultural determinism, and the psychology of perception as potentially fruitful bases for analysing music in general. Instead he stresses the desirability of formulating a theory to deal with all music, rather than merely Western forms, and emphasizes the need to evaluate an (...) analysis and compare it with other interpretations, and demonstrates how this may be done. The theoretical concepts which form the basis of Rahn's approach are discussed and applied: first to individual pieces of non-Western music which have enjoyed a fairly high profile in ethnomusicological literature, and second to repertoires or groups of pieces. The author also discusses the fields of anthropology and psychology, showing how his approach serves as a starting point for studies of perception and the concepts, norms, and values found in specific music cultures. In conclusion, he lists what he considers to be musical universals and takes up the more controversial issues implicit in his discussion. (shrink)

This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to the (...) understanding of multimedia, but also seeks to draw conclusions from the practice and further development of musical analysis. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within the (...) manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world. (shrink)

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

The relationship between music and memory is mainly developed in Music and Its Lovers (1932), a book where Lee presents interesting psychological and philosophical insights from the analysis of the responses made by 150 people to a questionnaire about the “expressive and emotional powers of music”. In this short encyclopedic entry, I present Lee's analysis of the many different ways in which musical experience depends on memory.

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and (...) its specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke (...) complements a similarly brief reference to Jankelevitch’s “ineffable.”. (shrink)

It is common for people to be sensitive to aesthetic qualities in one another’s speech. We allow the loveliness or unloveliness of a person’s voice to make impressions on us. What is more, it is also common to allow those aesthetic impressions to affect how we are inclined to feel about the speaker. We form attitudes of liking, trusting, disliking or distrusting partly in virtue of the aesthetic qualities of a person’s speech. In this paper I ask whether such attitudes (...) could ever be legitimate. This is a microcosm of the broader issue of whether people’s aesthetic qualities in general can justify the interpersonal valuing-attitudes that they so often cause. I draw from recent discussions of body aesthetics to articulate a pair of challenges. One challenge says that aesthetic judgements of speech are reliant on unjustifiable prejudices. The other holds that a person’s aesthetic qualities are irrelevant to whether they should be liked. Against these challenges I argue that some speech can bear aesthetic qualities which are not reliant on prejudice and which are relevant to whether the speaker should be liked. I develop this argument through an analysis of the concept of lyricism. (shrink)

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention (...) to the sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life. (shrink)

The first work that René Descartes wrote was the Compendium Musicæ in 1618, this was his first experiment with the future cartesian method. As a work of youth, the author must have studied music in your education, mainly in the college of La Flèche. Conventionally, the work of Gioseffo Zarlino had been considered the main source, because was cited in the Compendium. Since the text starts with music´s definition and eight propositions, about which the rest of work was developed; check (...) the way that them appear in other treatises of the time could help to deduce the possible musical sources that the author used.This dissertation starts with a necessary reconstitution of philosophical and musical context of the epoch, followed by an analysis of jesuits conceptions of knowledge and music. In this way, it can be considered what motivated the author to write about music, as his the debates. In resemblance to his mature work, the text proposes a methodological turn that is only perceived with the context of the time in mind. After an interpretation of the definition of the music and the eight propositions, it could be possible compare with the others works form the epoch to verify his musical sources. With this process, it could evidence the influence of Aristotle, Aristoxenus, Jean de Murs, Pontus de Tyard, Gioseffo Zarlino and Francisco de Salinas. (shrink)

Using Foucault’s concept of governmentality vis-à-vis Appadurai’s “global ethnoscapes” as frames, I argue for a techno-cultural dimension which brought forth the phenomenon of the “dancing inmates,” an argument against the charge of Filipino colonial mimicry of a Hollywood popular entertainment. Albeit the inmates’ dance routines indeed depict Foucault’s “docile bodies” in his analysis of the modern prison, as pointed out by critics, I am inclined to show how the internet mediation through social media networks awakened a culturally imbibed dance (...) and musical character trait vis-à-vis the jolly cultural disposition of Filipinos. Thus, I view these characteristics as existential responses, hence, ‘creative resilience,’ to the inhuman incarcerating conditions of the prison life through using the art of dance with the aid of media technology. I argue on the role of the internet as the prisoners’ avenue to the outside world that was strategically deprived of them as a form of punishment, and the role of the internet as their last frontier to freedom and to realize their human potentials. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially (...) fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns (...) of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

The thesis analyses the relation between Rousseau’s musical writings and elements of his moral, social and linguistic philosophy. In particular, I am concerned to demonstrate: (i.) how the core of Rousseau’s theory of musical imitation is grounded in the same analysis of the nature of man which governs his moral and social philosophy; (ii.) how this grounding does not extend to the stylistic prescriptions the justification of which Rousseau intended his musical writings to offer. The central (...) argument draws on Rousseau’s analysis of the origin of man as distinctively human. This origin extends to the awareness of moral and aesthetic value, and to communication in speech and song. Rousseau’s moral analyses of social and political life usually take the form of relating contemporary practice to the original structure in which man’s awareness of his own good is commensurate with that of the good of others. The analysis of music follows a similar model: music is to be considered good in so far as it replicates, or faithfully reflects, the original model of communication. The value of music is thereby understood to extend to moral as well as aesthetic goodness. Given the subtlety of Rousseau’s understanding of the ‘origin’, I argue that this analysis of music’s aesthetic value is powerful and far‐ reaching in its relevance for contemporary musical aesthetics. However, I also argue that while the analysis in general is good in this way, it does not entail the specific kind of musical‐stylistic preferences which Rousseau sought to use it to advance. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.

The domination of the Christian faith during the middle ages created a new vista for theatre, drama and music to flourish. The Bible which is a documented proves, ideals and authenticity of the Christian faith has not only served as a spiritual dictionary of the Christian faith, theologians and historians but a critical source for musicologists, playwrights and directors. This study is a critical analysis of dramatic and musical dimensions in the parables of the God Samaritan and the (...) Richman and Lazarus. In doing this analysis, the study utilizes the literary and content analysis methods of qualitative approach of research. The major findings in this research is that the parables of Jesus Christ as documented in the Bible are critical sources that are highly theatrical, musical and dramatic in content and form, its dramatic and musical dimensions are highly pedagogical, entertaining and very enlightening for contemporary Nigerian audience. It therefore recommends that Nigerian playwrights, musicologists and directors should document, interpret and score these parables and other stories in the Bible as play-text, musicals for easy comprehension. Directors and musicologist are also encouraged to promote evangelical theatre by dramatizing these stories in order to promote the Christian faith and champion sustainable development in Nigeria. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the (...) methodology developed by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: “felt time” and “clock time.” For Langer, musical time is exclusively felt time, and in this sense, music is “time made audible.” However, Langer also postulates what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications and ramifications regarding (...) not only musical meaning, but also the purported metaphysics of music construed as essentially inhering in felt time. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding. We discuss a selection of examples of repetitive formations, from mediaeval music to contemporary music, which show that persistent, motion-inhibiting repetition undermines the listener’s ability to identify order and coherence due to a relative inability to anticipate the next occurrence of a differentiating musical event. We argue that Langer’s one-sided view of musical temporality, which patently relies on the conceptual framework of memory time and the specious present, exemplifies what we propose to call ‘the searchlight model of musical understanding,’ wherein the constant span of illumination of the searchlight (representing the span of the specious present) moves continuously parallel to, and along, its postulated target, i.e., the music heard, as it ‘illuminates’ it. We argue that, in the last analysis, memory time conceptually presupposes the publicly identifiable means of chronometric length. One maintains the ‘strong suspension thesis’ on pain of conceptual confusion. (shrink)

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated (...) marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (shrink)

This paper examines the performance elements in Asu Ekiye’s musical video entitled Back to Base. The study cuts across the use of costume and other theatrical elements to portray various ethnic nationalities as represented in the production. This style of music video production has not been given adequate scholarly attention by researchers. Thus, the paper examines the performance elements in Asu Ekiye’s music video, Back to Base. It is against this backdrop that the content analysis method of investigation (...) is deployed. It adopts comparative analysis investigative approach which appropriates primary and secondary sources. The primary sources are musical video CD of Asu Ekiye. The secondary sources are scholarly materials related to musical performance and theatre. This paper observes that Asu Ekiye’s musical video performance dialogue with performers ranging from lead singers to back-up singers, actors and dancers also involves audience participation and other performance elements. Asu Ekiye’s musical video entitled Back to Base is performed on two different performing areas: the arena stage and the aquatic stage. This paper holds that costumes, dances, and dramatic performances, props and locations are the main strengths and attractions of the music video. It recommends that for music to thrive in Nigeria, a multicultural society, musicians should ensure that their musical productions should be cross cultural and they should deploy variety of performances elements. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and (...) wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it (...) possible to apply the methodology of research on the invisible visuality of a painting to the field of non-acoustic sound of a musical work? What kind of additional research problems does a work of music cause, taking into account the fact that it is not only created by its author-composer, but it also requires a re-creational performance to phenomenally exist? The article provides the critical analysis of Roman Ingarden’s views on the subject of a musical work and indicates the need to expand the research horizon as regards the issue of nonsounding elements of music. The article aims mainly at bringing new research perspectives on a work of music in the light of contemporary phenomenology. (shrink)

This study sets out to examine the ways Nigerian cyber-fraudsters (Yahoo-Boys) are represented in hip-hop music. The empirical basis of this article is lyrics from 18 hip-hop artists, which were subjected to a directed approach to qualitative content analysis and coded based on the moral disengagement mechanisms proposed by Bandura (1999). While results revealed that the ethics of Yahoo-Boys, as expressed by musicians, embody a range of moral disengagement mechanisms, they also shed light on the motives for the Nigerian (...) cybercriminals' actions. Further analysis revealed additional findings: “glamorization/de-glamorization of cyber-fraud” and “sex-roles-and-cultures”. Having operated within the constraint of what is currently available (a small sample size), this article has drawn attention to the notion that Yahoo-Boys and some musicians may be “birds of a feather.” Secondly, it has exposed a “hunter-and-antelope-relationship” between Yahoo-Boys and their victims. Thirdly, it has also highlighted that some ethos of law-abiding citizens is central to Yahoo-Boys’ moral enterprise. Yahoo-Boys, therefore, represent reflections of society. Arguably, given that Yahoo-Boys and singers are connected, and the oratory messages of singers may attract more followers than questioners, this study illuminates the cultural dimensions of cyber-fraud that emanate from Nigeria. In particular, insights from this study suggest that cyber-fraud researchers might look beyond traditional data sources (e.g., cyber-fraud statistics) for the empirical traces of “culture in action” that render fraudulently practices acceptable career paths for some Nigerian youths. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of (...) logical variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

The article discusses the problem of musical time presented in Edmund Husserl’s 'The Phenomenology of Internal Time-Consciousness'. The author of this article aims to describe the basic properties of immanent time on the basis of an analysis of the musical, resp. sound examples given by Husserl. Husserl’s reflections on inner time-consciousness – preceding Roman Ingarden’s examination of musical time included in 'The Work of Music and the Problem of Its Identity' – constitute an important stage in (...) the reflections on immanent time in a musical work. The article, as a study belonging to the phenomenology of music, is a critical analysis of the basic terms of phenomenology of time, such as original impressions, retention, protention, consciousness, perception, and intentionality. (shrink)

The subject of the article is conducting as typically known from the classical symphonic practice. The question to be discussed is: In what respect is the conductor’s beat properly to be understood as ”signing” within the frames of a sign language, and as such a proper object of semiotic analysis. My approach to the topic is primarily phenomenological. It makes analytical comments on the task of the conductor; to the very nature of the cooperative and communicative framework embedding the (...) conductor and the musicians; and hence to the constitutional conditions for conducting. The conclusion is that in many important respects conducting is not a matter of signing and there is no such thing as a conductor’s sign language. It will be outlined how the connection between music, musicians and conductor is based on analogies between music, corporeality and onto-temporality. (shrink)

Abstract: This paper argues that a central explanatory role for the concept of Umwelt in theoretical biology is to be found in developmental biology, in particular in the effort to understand development as a goal-directed and adaptive process that is controlled by the organism itself. I will reach this conclusion in two (interrelated) ways. The first is purely theoretical and relates to the current scenario in the philosophy of biology. Challenging neo-Darwinism requires a new understanding of the various components involved (...) in natural selection processes. An important prerequisite for the explanation is the ability to understand development in a teleological way. Here, the concept of Umwelt plays a crucial role: if organisms are responsible for generating adaptive variation in specific environments, we need a theory that explains the context-dependent nature of adaptively oriented processes. The Umwelt is thus a central element in determining the goal that an adaptive process pursues. The second path in my analysis also has a historical dimension. I will present Karl Ernst von Baer’s reflections on teleological development and his influence on von Uexküll's thinking. I will present various ideas developed by von Baer, such as the distinction between Ziel and Zweck and the use of musical metaphors, which can help to understand development teleologically and give von Uexküll’s theory a central place in this framework. (shrink)

While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study (...) based on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources. -/- . (shrink)

The article considers the problem of the meaning of a musical discourse from the perspec-tive of hermeneutic phenomenology. The analysis is based on the collected essays by Paul Ricoeur, included in the book 'Language, Text, Interpretation'. The author of the article aims at contextualization of such terms as discourse, event, meaning, distance, appropriation, interpretation, self-understanding, projection of ‘the world of work’ and the projection of the possibility of ‘being-in-the-world’ with reference to a musical work of art.

Trademarks are not just property; they are aesthetic creations that pervade everyday experience. As pervasive aesthetic creations having literary, pictorial, graphic, sculptural, and musical content, trademarks deserve aesthetic analysis. So this paper discusses the origins, strength, appeal, and effectiveness of trademarks within the context of aesthetic considerations such as meaning, intention, authorship, and mode of creation. Also reviewed are morphemic and phonemic analysis of trademarks, semantic positioning, the dichotomy between creation and discovery of trademarks, and the differences (...) between trademarks and titles. The discussion is confined to "word marks" consisting of alphanumeric characters because discussing other kinds of marks (such as designs, configurations, sounds, colors, and scents) would raise issues well beyond the scope of a single article. (shrink)

Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual (...) modality (painting by Leonardo da Vinci, action movie in the series of Bond films), and in the musical modality (Blues music). The static analyses in the tradition of structuralism are replaced by morphodynamic schemes, by gesture and glance vectors, paths of pursuit and scenarios of conflict in action movies and eventually by harmonic sequences in the Blues. In this dynamic perspective, the notion of narrativity gains a different profile and it is freed from the preference for linguistic or logical categories. (shrink)

The philosophical significance of rhythm in the United States has been undermined from both sides of what Adorno and Horkheimer called the ‘dialectic of enlightenment’. When rhythm has not been falsely exalted, promising a fetishised, racialised ‘return’ to the body, it has been devalued through the tainted associations of rhythmic synchronisation with fascist regimes and the demand for compliance. In this article, I engage these issues as they inflect the politics of musical form. Adorno’s notorious critique of jazz – (...) developed across a wide range of essays spanning three decades (1933-1962) – has been rightly disparaged, but his concept of the politics of metric regularity has not been repudiated. In what follows, I provide an analysis of how metric regularity works for Adorno as a concept – its limitations and presuppositions. Adorno opens up new critical thought about rhythm by taking seriously the problem of the bass drum in jazz and its historical and structural relation to the military march. However, he gets seriously wrong the different implications of marching rhythm for African-American (and therefore American) history, failing to understand its radical difference from the dangers of European fascism for its victims. -/- Transnational rhythmic forms in the black diaspora (including the United States) and the interracial experiences that these forms enable, at least as in-principle possibilities, continually contest the ‘the divisions between life and thought’ that have been taken for granted by majoritarian philosophy in the West. From this perspective, the segregation of intellect from feel (a technical term among musicians to indicate those normatively right aesthetic choices that nevertheless emerge in excess of predetermined rules is not tenable given the polyrhythmic background that must be presupposed in order for any piece of diasporic music, including and especially in the United States, to be intelligible. (shrink)

"Time. Perception. Imagination. Phenomenological Studies on the Question of Time by Augustine, Kant and Husserl". (rus), SPb, 2013. Summary: The monograph is devoted to the key elements of the philosophy of time which determine the necessity of historicism in the analysis of subjectivity. The main idea which defined the composition and design of this work is to trace how the Kantian definition of time as the “form of inner sense” is revealed in Husserl’s phenomenology. The original intention was to (...) understand all three components of this definition. Firstly, what is the inner form, in terms of phenomenology, what are the principles of its constitution and how one can talk about the property of formation? Secondly, what is the meaning of the term "inner" in philosophy, where the division into internal and external has always been a formality, not affecting the essence of things? And finally, what sort of “sensibility” is assumed in transcendental science, bound to become the basis of understanding the history and culture. Presumably, these three Kantian concepts constituted the original plan to analyze the nature of cognitive capabilities of the subject, claiming the gnoseological stage on which the philosophy of time is unfolded. In other words, this work deals with the historical and philosophical analysis of the phenomenological principles by which the concept of time as developed in the twentieth century emerged in the framework of phenomenology. The analyze of the structure of the subject assumes that time, perception and imagination combine in a special type of inner synthesis, which may not be relevant to certain aspects of the method but maintain the basis for a kind of anthropology of time, in continuation of the traditional “inner” contemplation. I consider the inner structure of time with the account of philosophy of St. Augustine, who in many respects not only anticipated the conclusions of phenomenology, but also in his reflections encompassed deeper layers of inner experience. The first chapter is devoted to the doctrine of St. Augustine, in which the theory of time is analyzed in conjunction with the doctrine of “inner word”, specifics of memory representations and notion of inner sense. Additionally, I consider St. Augustine’s reflections about numbers that constitute the basis of aesthetic perception of music (De Musica). Thus, the philosophy of St. Augustine already covers the whole spectrum of anthropology of time, including the question of relation between time and eternity, which remains practically unexplored in phenomenology and serves as the proof of that in interactions between philosophy and theology the tradition remains important. The second chapter of this study is devoted to analysis of the transcendental aesthetic of Kant, which includes all the methodological possibilities of considering the category of time as a formal condition for any experience, consequentially serving as a foundation for further logical development by Husserl, which includes the critical disengagement of the founder of phenomenology from Kant's transcendentalism. Particular attention is paid to the origin of the concept of inner sense, as well as possible interpretations of the function of imagination, which as a transcendental ability remains the most interesting type of synthesis. Handwritten fragments of Kant’s works are also of interest to the character of the imagery as considered in detail by Husserl. Chapter three discusses the phenomenology of inner time consciousness, represented in those important aspects, without which it is impossible to speak about the internal structure of temporal experience - the subjectivity of time, retention, "living present", and the character of synthesis. Particular attention is paid to Husserl's polemics with those representatives of psychological branch in the studies of consciousness, whose ideas greatly influenced the very motivation for creating the method. Apart from the well-known criticism of Brentano, the third chapter highlights the rarely analyzed psychological ideas that motivated the choice of Husserl’s terminology - the "Präsenzzeit” by W. Stern, the "psychological analysis" by A. Meinong, and the “fusion” (Verschmelzung) by K. Stumpf. Chapter four deals with the need to analyze the specifics of image as an element of consciousness and imagery as such, which includes a system of objectified acts. Thus is revealed the very nature of synthetic connections in the acts of consciousness, as well as the presumably imaginative character of the constitution of temporal form. (shrink)

“Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and on (...) its narrative in relation with music, lyrics, characters, and gestures. We also discuss the video’s intertextual references and the broader signification of the black star figure. We adopt a quasi-semiotic approach considering “Black Star” music video-clip as a text which can be investigated through its signs, codes, and conventions of the musical, visual, and cinematic languages as well. Our interdisciplinary tools derive from visual semiotics and audiovisual analysis models, without leaving outside Bowie’s musical-artistic and personal history. As it turns out, Bowie created a video clip that is philosophical in nature and poetic in structure, preserving the role of protagonist. With the visuals creating a psychedelic atmosphere, the lyrics often are heard as a personal confession. They both generate cognitive and emotional responses that influence the way the viewers-listeners may experience, decompose, and interpret Bowie’s artistic endeavor bridging life and death. (shrink)

'Culture’. The Work for Choir and Orchestra. Music as an Organon for the Structural Analysis of Myth.

JULIAN DODD’S MUSICAL PLATONISM The purpose of the paper is to analyse Julian Dodd’s musical Platonism in the ontology of works of music. Dodd defends two views; first, that musical works are norm-types the tokens of which are dateable, locatable patterns of sounds. Second, that musical works are entities individuated purely in terms of how they sound. The main results of the analysis is the rejection of the following Dodd’s theses: 1. that types exist eternally; (...) 2. that they are unstructured; 3.that their identity is determined by the condition that something must meet to be one of its tokens. Keywords: ONTOLOGY OF WORKS OF MUSIC, MUSICAL PLATONISM, JULIAN DODD. (shrink)

The mathematical universe hypothesis is a theory that the physical universe is not merely described by mathematics, but is mathematics, specifically a mathematical structure. Our research provides evidence that the mathematical structure of the universe is biological in nature and all systems, processes, and objects within the universe function in harmony with biological patterns. Living organisms are the result of the universe’s biological pattern and are embedded within their physiology the patterns of this biological universe. Therefore physiological patterns in living (...) organisms can be used as models to structurally map analogies from the biological domain to any target domain to reveal and understand the biological nature of the target domain. Our paper explores various analogies, structurally mapping a red blood cell to a cup; proteins produced from ribosomes to music produced from instruments; a beating heart to the melting and freezing of Antartica; cells, tissue, organs and blood, to people, organizations, industries, and money, and; bio-economic concepts in cellular society to socioeconomic concepts in human society. It also discusses how phenomena in cellular mitosis can help explain phenomena in the universe, such as black holes, dark matter, dark energy, and the structure of the universe. Building upon the concept of perennial wisdom, our research has provided evidence that the ideas of a biological universe were expressed across many past cultures and historical periods. The implications of this theory are vast, encompassing fields such as physics, science, philosophy, religion, law, economics, politics, and engineering, thus serving as a unifying theory for all knowledge. Our theory is supported by meta-analysis of scientific, historic, and religious literature, observations and first principles logic. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Markosian presents an argument against certain theories of time based on the aesthetic value of music. He argues that turning a piece of music sideways in time destroys its intrinsic value, which would not be possible if the Spacetime Thesis were true. In this paper I show that sideways music poses no problems for any theory of time by demonstrating that turning a piece of music sideways does not affect its intrinsic value. I do this by appealing to spatial analogies (...) that highlight the similarities between spatial and temporal rotations. (shrink)

Abstract: The Spotify Status Dataset is a valuable resource that provides real-time insights into the operational status and performance of Spotify, a popular music streaming platform. This dataset contains a wide array of information related to server uptime, user activity, service disruptions, and more, serving as a critical tool for both Spotify's internal monitoring and the broader data analysis community. As digital services like Spotify continue to play a central role in music consumption, understanding the platform's status becomes crucial (...) for ensuring a seamless user experience. This dataset offers numerous research and analysis opportunities, whether you're interested in exploring service availability trends or investigating user behavior patterns during service disruptions. This study highlights the significance of the Spotify Status Dataset, its potential applications, and the valuable insights it can offer to various stakeholders, from Spotify engineers working to enhance service reliability to researchers studying the effects of downtime on user engagement. It invites readers on a journey through this dataset to uncover the secrets of Spotify's operational status and its impact on music enthusiasts worldwide. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

According to Greimas, the semiotic square is far more than a heuristic for semantic and literary analysis. It represents the generative “deep structure” of human culture and cognition which “define the fundamental mode of existence of an individual or of a society, and subsequently the conditions of existence of semiotic objects” (Greimas & Rastier 1968: 48). The potential truth of this hypothesis, much less the conditions and implications of taking it seriously (as a truth claim), have received little attention (...) in the literature. In response, this paper traces the history and development of the logical square of opposition from Aristotle to Greimas and beyond, to propose that the relations modelled in these diagrams are embodied relations rooted in gestalt memories of kinesthesia and proprioception from which we derive basic structural awareness of opposition and contrast such as verticality, bilaterality, transversality, markedness and analogy. To make this argument, the paper draws on findings in the phenomenology of movement (Sheets-Johnstone 2011a, 2011b, 2012, Pelkey 2014), recent developments in the analysis of logical opposition (Beziau & Payette 2008), recent scholarship in (post)Greimasian semiotics (Corso 2014, Broden 2000) and prescient insights from Greimas himself (esp. 1968, 1984). The argument of the paper is further supported through a visual and textual content analysis of a popular music video, both to highlight relationships between the semiotic square and mundane cultural ideologies and to show how these relationships might be traced to the marked symmetries of bodily movement. In addition to illustrating the enduring relevance of Greimasean thought, the paper further illustrates the neglected relevance that embodied chiasmus holds for developments in anthropology, linguistics and the other cognitive sciences. (shrink)

This paper examines visual representation from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. Suggests ways to clarify complex issues of representational ethics in marketing communications and marketing representations, suggesting an analysis that makes identity creation central to societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, drawing upon tourist promotions, advertisements, and mundane objects in material culture. Moreover, music is an important force in marketing communication: visual representations in (...) music promotions are also explored as data for inquiry. Offers an alternative to phenomenologically based approaches in marketing and consumer research scholarship that use consumer responses to generate data. Contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation. (shrink)

How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and (...) relations of intimacy within it. Starting from the wealthy tips that E. T. Hall gives to us in order to delineate a new understanding of proxemics that includes sound experience, I argue that sound, silence, and noise are essential to determine the intimate space and the way we interact with it. Moving from a classical proxemics perspective, the analysis will focus on the intimate relation between sound, space, and body, dialoguing with phenomenology, anthropology, semiotics, and philosophy of space. (shrink)

In a study that goes beyond the ego affirmed by Freudian psychology, David Levin offers an account of personal growth and self-fulfillment based on the development of our capacity for listening. Drawing on the work of Dewey, Piaget, Erikson, and Kohlberg, he uses the vocabulary of phenomenological psychology to distinguish four stages in this developmental process and brings us the significance of these stages for music, psychotherapy, ethics, politics, and ecology. This analysis substantiates his claim that the development of (...) our listening capacity is a process that fits Foucault's conception of a practice of the self, forming our character as social beings and moral agents. David Levin contends that our self- development as auditory beings is necessary for the achievement of a just and democratic society. (shrink)